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UNTRAINED

UNTRAINED - Merrigong Theatre Company

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What is dance? An old question is not always a good one<br />

The Age<br />

13 March 2009<br />

Reviewed by Jordan Beth Vincent<br />

In New York City in the 1960s and 1970s, a group of post-modern dancers set about<br />

redefining their art form by asking the most basic question: what constitutes dance?<br />

Key aspects of their choreographic and artistic explorations included using untrained<br />

performers, a democratic choreographic process, and rejecting traditional forms and<br />

structures.<br />

Nearly 40 years on, Lucy Guerin does her own exploration of those concepts in Untrained, a<br />

work that — considering the long history of such explorations — feels dated. The premise is<br />

simple: four men appear onstage, two of whom — Byron Perry and Antony Hamilton — are<br />

trained dancers. The other two — Ross Coulter and Simon Obarzanek — are visual artists,<br />

meaning that they bring a certain level of artistic awareness and creativity to the<br />

performance, yet have no physical training.<br />

There is a strong sense of a rehearsal-in-progress, an impression confirmed by the casual<br />

costumes of trackies and runners, as well as minimalistic lighting. The men take turns<br />

performing a series of tasks, each designed to create a portrait of the individual performer.<br />

Some are as simple as acting out a favourite movie scene, while others are slightly more<br />

intimate. There are some amusing moments, mostly surrounding the fumbled and clumsy<br />

attempts by Coulter and Obarzanek to imitate the complex movement patterns of Perry and<br />

Hamilton.<br />

Untrained succeeds in exposing some sort of truth about each of these performers. These<br />

are real men, who deserve to be commended for their brave willingness to reveal their<br />

insecurities, vulnerabilities and idiosyncrasies to an audience.<br />

Unfortunately, the piece never develops past the comparison between dancer and nondancer,<br />

even as it tries to emphasise the fallacy of such a distinction. Untrained fails to<br />

break any ground and, although seeing it may be mildly entertaining, this work is ultimately<br />

uninteresting.<br />

http://www.theage.com.au/articles/2009/03/12/1236447401936.html

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